Performance practice: The score is written for sopranos and altos, ideally using only boys’, and not women’s voices. This refers back to a centuries-old, Catholic church-music practice. Although the English version, which is capable of being misunderstood by those not knowledgeable about liturgy, refers to a children’s choir, it means a boys’ choir rather than a mixed choir of boys and girls. Strawinsky himself confirmed this. The sober clarity of old classical mass compositions and their value as metaphysical statements should not be disrupted by the more strongly erotic sound of female voices. Strawinsky expressed his opinion to this effect in a letter to Ralph Hawkes dated 7th October 1947. The worry (a justified one that would be confirmed in the future) tortured him that no one would make the effort any longer of using a boys’ choir if it became usual to perform the Mass with female voices. Independent of the uncompromisingly defined solo parts, the score indicates that certain moments in the choral writing are best performed by soloists. The choir should not exceed 16 voices, and the Mass was written for this number of voices. The idea of using larger forces of a massed number of singers with choirs of 150 performers horrified Strawinsky; in the case of the planned performance in Santa Barbara by Stokovsky, he even forbade it. The woodwind chorus must furthermore be manned very conservatively. They should not cover the choir parts. That the two wind choirs had to be used in a very restrained fashion can be seen from a critical letter from Strawinsky to Robert Craft dated 27th April 1949. In this, he complains about a performance of the Mass by Robert Shaw that he had heard in a broadcast. He criticised above all the lack of balance due to the covering of the voice parts by the orchestra. In addition to this, there were reasonable “stoppages” missing between the phrases, whatever that may mean. He described the performance as disappointing. With respect to Robert Shaw, who was originally a choral director and later became an orchestral conductor in Atlanta, he had expressed himself very favourably at several other times.

Strawinsky’s Mass was composed as a liturgical work for the Catholic church service, but not for the Orthodox service, and in this sense, it is liturgically functional. As a result, it is to observe Ordinary Time in both the Latin Tridentine and the vernacular Vatican High Mass, and accordingly the Gloria should not be sung on every Sunday. Performances outside the Mass liturgy were not looked on favourably by Strawinsky, without wanting or being able to prevent them. The fact that the Milan premiere conducted by Ernest Ansermet was performed in an Opera House, with an opera chorus that was not up to the task technically or stylistically was something that he found unsatisfactory. Since a double Wind Quintet overtaxes the possibilities of most standard societies both from the point of view of rehearsing of the music as well as the costs, Strawinsky approved an organ transcription under the condition that the organ part takes the place of the orchestra and does not become an additional instrument included for the purpose of making the performance easier for the wind instruments. In fact, the Mass begins with a wind section introduction which is written in the style of an organ piece moving from chord to chord with changes of registration. The proposal made by Ralph Hawkes in 1947 of replacing the woodwind orchestra with an organ part, was clearly never realized.

Sung text:I Kyrie:Kyrie, eleison. / Christe, eleison. / Kyrie, eleison. [Lord, have mercy on us. / Christ, have mercy on us. / Lord, have mercy on us.] – II Gloria:Gloria in excelsis Deo et in terra pax hominibus bonae voluntatis. Laudamus te, benedicimus te, adoramus te, glorificamus te, gratias agimus tibi propter magnam gloriam tuam, Domine Deus, Rex caelestis, Deus Pater omnipotens. Domine Fili unigenite, Jesu Christe, Domine Deus, Agnus Dei, Filius Patris, qui tollis peccata mundi, miserere nobis, qui tollis peccata mundi, suscipe deprecationem nostram. Qui sedes ad dexteram Patris, miserere nobis. Quoniam tu solus Sanctus, tu solus Dominus, tu solus Altissimus, Jesu Christe, cum Sancto Spiritu: in gloria Dei Patris. Amen. [Glory be to God on high, and on earth peace to men of good will. We praise Thee. We bless Thee. We adore Thee. We glorify Thee. We give Thee thanks for Thy great glory, O Lord God, heavenly King, God the Father Almighty. O Lord, the Only-begotten Son, Jesus Christ; O Lord God, Lambof God, Son of the Father, Who takest away the sins of the world, have mercy on us: Thou Who takest away the sins of the world, have mercy on us: Thou Who takest away the sins of the world, receive our prayer; Thou Who sittest at the right hand of the Father, have mercy on us. For Thou only art holy: Thou only art the Lord: Thou only, O Jesus Christ, art most high, together with the Holy Spirit in the glory of God the Father. Amen.] – III Credo:Credo in unum Deum, Patrem omnipotentem, factorem caeli et terrae, visibilium omnium et invisibilium. Et in unum Dominum, Jesum Christum, Filium Dei unigenitum. Et ex Patre natum ante omnia saecula; Deum de Deo, lumen de Iumine, Deum verum de Deo vero; genitum, non factum, consubstantialem Patri, per quem omnia facta sunt; qui propter nos homines ei propter nostram salutem descendit de caelis. Et incarnatus est de Spiritu Sancto, ex Maria Virgine, et homo factus est. Crucifixus etiam pro nobis, sub Pontio Pilato passus et sepultus est. Et resurrexit tertia die secundum scripturas. Et ascendit in caelum, sedet ad dexteram Patris. Et iterum venturus est cum gloria iudicare vivos et mortuos, cuius regni non erit finis. Et in Spiritum Sanctum, Dominum et vivificantem: qui ex Patre Filioque procedit. Qui cum Patre et Filio simul adoratur et conglorificatur: qui locutus est per prophetas. Et unam, sanctam, catholicam et apostolicam Ecclesiam. Confiteor unum baptisma in remissionem peccatorum. Et exspecto resurrectionem mortuorum, et vitam venturi saeculi. Amen. [I believe in one God, the Father Almighty, Maker of heaven and earth and of all things visible and invisible. And in one Lord Jesus Christ, the Only-begotten Son of God, born of the Father before all ages. God of God; Light of Light; true God of true God. Begotten, not made; being of one substance with the Father, by Whom all things were made. Who for us men, and for our salvation, came down from Heaven.And was made Flesh by the Holy Spirit of the Virgin Mary; and was made man. He was crucified also for us, suffered under Pontius Pilate, and was buried. And the third day He rose again according to the Scriptures; and ascended into Heaven, and sitteth at the right hand of the Father. And He shall come again with glory to judge both the living and the dead: of whose Kingdom there shall be no end. And I believe in the Holy Spirit, the Lord and Giver of Life, Who proceedeth from the Father and the Son. Who together with the Father and the Son is adored and glorified; Who spoke by the Prophets. And in One, Holy, Catholic and Apostolic Church. I confess one Baptiam for the remission of sins. And I look for the Resurrection of the dead. And the life of the world to come. Amen.] – IV Sanctus: Sanctus, sanctus, sanctus, Dominus Deus Sabaoth. Pleni sunt caeli et terra gloria tua. Hosanna in excelsis. Benedictus, qui venit in nomine Domini. Hosanna in excelsis. [Holy, Holy, Holy, Lord God of Hosts, Heaven and earth are filled with Thy glory. Hosanna in the highest. Blessed is He that cometh in the name of the Lord. Hosanna in the highest.] – V Agnus Dei:Agnus Dei, qui tollis peccata mundi, miserere nobis. / Agnus Dei, qui tollis peccata mundi, miserere nobis. / Agnus Dei, qui tollis peccata mundi, dona nobis pacem. [Lamb of God, who takest away the sins of the world, have mercy on us. Lamb of God, who takest away the sins of the world, have mercy on us. Lamb of God, who takest away the sins of the world, grant us peace.]

Source: Kyrie is the incipit of Kyrie eleison, which in the Tridentine tradition is sung either in two sets of three, with three calls of Christe eleison coming in between them, or in a sequence of two sets of three Kyrie eleisons and Christe eleisons. It comes between the Proper Introit and the Ordinary Gloria, which comes in the liturgy at the end of the Act of Penitence (Actus poenitentialis). Its Trinitarian structural depiction in sets of nine or six, which comes from the ancient Roman Imperial cult and was reinterpreted in Christianity (1. Two or three calls: God the Father; 2. Two or three calls: God the Son; 3 two or three calls: Holy Ghost) is a further development from the Middle Ages which was limited to the West-Roman cult and remained unusual in the Russian and Greek Orthodox Church. – The Gloria, which appears in two sections in the liturgical text, may only be said or sung at specific times, and is usually intoned as a solo by the priest to a defined formula of intonation. The title is the incipit of the Hymnus Angelicus (Doxologia major), Gloria in excelsis Deo, a hymn-like song of praise to God, which begins with the Song of the Angel from the New Testament. In the Tridentine tradition, the Gloria was not proscribed for Masses on Weekdays (Ferial Masses), excluding those at Easter time, but only for Sunday Masses, but it was also not allowed to be sung on the days of mourning and grief, i.e. the 4 Sundays of Advent before Christmas, the 6 Sundays of fasting before Easter, or in the time of Septuagesima (pre-Lent = the time between the Sunday of Septuagesima and Ash Wednesday), not on the Feast of the Holy Innocents (28/12), not on the private Votive Masses (Mass for the Dead, Wedding Mass) apart from the Votive Masses of the Holy Angels and the Votive Masses to the Mother of God. These extensive limitations also apply for the liturgical performance of Strawinsky’s Mass. The Gloria is an old part of the Mass liturgy both in the rites of the West and the East. – The Credo, also intoned by the Priest with a specific intonation formula, appears liturgically between the Announcement of the Good News (the Gospel) and the Proper Offertory (the Offertory). Its name comes from the incipit Credo in unum Deum, the Apostolic, Nicean and Constantinopolitan declaration of faith, in which the main truths of the Christian doctrine of faith are laid out as a formula in the briefest version. The actual name is the Symbolon, as it is till known today in the Greek and Russian Church, because the contents stand symbolically for personal religious conviction. This was the last part of the Mass to be adopted into the service. – The Sanctus forms liturgically the end of the Preface and leads into the Eucharistic Prayer (Prex eucharistica). It was sung under the form in which it is sung today under Pope Sixtus I, who died 125 years after Christ. The text is in two sections. The first section consists of three calls of the word ‘Holy’ by the Seraphim according to Isaiah 6.3, and is therefore called Hymnus seraphicus. The second section, Benedictus, has been treated by the many-voice Mass settings of the Viennese Classical tradition as if it is a self-standing section so much that it became a separate movement. It sets the Jews’ greeting of welcome at the entry of the Lord into Jerusalem according to Matthew 21.9. It was in later times attached to the Sanctus and was no longer sung at the Vatican, but appears in the Gelasianum, which was written to Pope Gelasius, who died in the year 496AD. As a result of the three calls of ˜Holy’, the Sanctus is known in the Byzantine as Trisagion (trisagion: emphasis on the ‘a’, and a short spoken ‘o’). – The Agnus Dei is also in three parts, and is one of three calls to the Lamb of God, Christ, with a subsequent plea for protection, which is taken from John 1.29, and appears in the Mass between the Prayer for Peace after the Our Father and the Prayer of Penitence before Communion, and musically between the Accentus setting of the Pater noster after the Eucharistic Prayer and the sung Proper Communio. The term ‘peccata’ = ‘sins’, now-a-days ‘sin’ means in this context Vanity = Nothingness = in Latin vanitas. The Agnus Dei was introduced into the Mass by Pope Sergius 1st (687–701). – All the sections from the Mass have also developed musical forms which correspond to their different liturgical functions and the characters of their texts, and these were observed by Strawinsky. The Kyrie is a formally structured antiphon, the Gloria a formalised hymn of joy, the Credo a rowsong which lies on the border of recitation, and the Sanctus and Agnus Dei are formally structured songs of glorification and entreaty.

Construction: This work is intended for the Roman Catholic church service in the Tridentine style, and is a five-part Ordinary Mass appropriate for liturgical use; it is in Latin constructed as a Missa Solemnis consisting of Kyrie, Gloria, Credo, Sanctus (with a Benedictus section) and Agnus Dei.

11.) figure 537 always: fermata has to be added to the end note (blue)

°°° Pocket score: f (not f#1).

Style: The Mass was written at a alienated neo-Classical form after the model of the moderated Flemish motets, for which Strawinsky adopted the movement types proscribed by the function, for example the Credo as a predominantly declamatory and rhetorical catalogue of equally weighted truths of belief, which according to theological dogma must be stated in such a way that one is not emphasised at the expense of another. There is therefore in Strawinsky’s version no accentuation of the et incarnatus est which since Machaut is treated in the Latin but not in the Russian Orthodox setting of the Credo as an independent musical figure. Strawinsky declaimed the dogma with rhythmic tautness, which at the time of the publication of this Mass received excited comments.

Date of origin: Hollywood 1944 (Kyrie and Gloria), autumn 1947 (Credo at the beginning of December 1947) up to 15. March 1948; preparatory work is known to have been carried out in 1942.

First performances:Kyrie and Gloria were first performed before the première on 26th February 1947 under Irving Fine in the Sanders Theatre in Cambridge, Massachusetts, for which 2 pianos replaced the double wind quintet; the performance of the entire Mass took place on 27th October 1948 in the Teatro Alla Scala by the opera chorus and opera orchestra of La Scala, Milan under the baton of Ernest Ansermet.

Remarks: The Mass is one of the few compositions during Strawinsky’s life that was not written as a commission but out of a personal desire. It appears that he had originally planned the duration for approximately 5 x 4.5 minutes, so for a movement length which corresponds, as in the Serenade en La, to the duration of one side of a vinyl record, which at the time was able to hold around four-and-a-half minutes of music. Strawinsky however made an unusually large miscalculation in his estimation of the duration. He gave the Mass the projected time of 23 minutes length to the publishers and reacted badly when it was printed in the score as having a duration of 17 minutes. When Strawinsky had to concede that it was not he but Boosey & Hawkes that was right, he was very crestfallen and embarrassed. Under his own direction, the Mass lasted exactly 16 minutes and 24 seconds. With regard to Strawinsky’s practised religiousness, intimate acquaintances of Strawinsky such as André Schaeffner had been predicting such a composition from the early 30’s.

The Machaut Legend: A short time after the Mass had started becoming known in Europe, the claim spread, probably from Germany, that Strawinsky had written it using the Mass by Guillaume de Machaut, written probably around 1364, as a model. The question came to Strawinsky’s attention and he explained it in a special question-and-answer dialogue, which was published in 1962, that he had come to know Machaut’s Mass for the first time one year after the completion of the actual Mass (so what can be concluded as being in the latter part of the first half of 1949). As the apparent influences on the work could already explained at the time by Burgundy and Franco-Flemish compositional technique, the knowledge of which Strawinsky had never contested, this matter was put to rest in the serious Strawinsky research, but not however in less serious musical journalism. Surprisingly, this old legend about Machaut’ influence reappeared in 2008 from the German-speaking side, despite the fact that Strawinsky cannot have known the Machaut Mass at all. It was published originally in the final volume of the four-volume Machaut edition compiled by Friedrich Ludwig, and was published by the Leipzig house, Breitkopf & Härtel. Ludwig died in 1930 without having completed his work. His material went to Heinrich Besseler who was himself overstretched, and he first began the compilation of the outstanding 4th volume. The edition, printed in 1943, could not however be shipped out, because not only it, but all other surviving copies of the earlier volumes I to III were destroyed in a bomb attack on Leipzig in 1943 and nothing apart from the correction sheet survived the blast. With the help of this sheet, Besseler reconstructed his own work and finally completed it in May 1954. By that point, the three editions of the Mass were already published, by 1948 at the earliest (Chailley Paris and Machabey Lüttich). By this year, the conducting score, pocket score, piano reduction and the sets of parts belonging to the hire material had already been printed and the Kyrie and Gloria had long been premièred.

The Machaut legend presumably goes back to the misunderstanding of an article, which Karl Gustav Fellerer, a musicologist teaching in Cologne, published in 1953 in the magazine “Die Begegnung” (of which there are only a few surviving copies available today). In it, he drew a comparison between Machaut and Stravinsky. This was not a stylistic comparison of the two Masses, but a comparison of the similar historical and liturgical situations in which Machaut in his time, and Stravinsky 600 years later, found themselves. Fellerer, who was known from his book on Palestrina and a proven expert in the world of church music, investigated the respective backgrounds of the two Masses. He created a connection between the papal announcements and actual musical life in the Middle Ages as well as in the modern era, and recognised the similarities in the religious as well as the political situation in the church with regard to the two composers. It was exactly because Machaut, like Stravinsky, fulfilled the liturgical requirements of his time in an ideal manner that they must have fallen into a contradiction with the reality of church music. Fellerer conclusively deduced from the liturgical and church-music papal demands that piled up, due to their not bringing matters into accordance, the presumed impossibility of inserting Stravinsky’s Mass into the participatio actuosa as demanded.

The Missa Brevis legend: The statement fact that the Mass is a Missa brevis and not a Missa solemnis, is a terminological error that stems back to the authors’ insufficient knowledge of the liturgy. The Missa solemnis is a term in Catholic theology established by centuries of use with which those making the liturgy define the celebration of Eucharist beyond the Missa lecta in the tradition of the Presbyterian Mass. Included in this is any type of set liturgy of a High Mass. The duration is therefore irrelevant; it is also irrelevant as to whether the Mass is for one or for many voices, a Proper or Ordinary Mass, or set entirely or in part to music. Titles for pieces that composers gave to their individual works, including among others the name ‘Missa Brevis’, are meaningless in terms of catholic liturgical accuracy. There are of course strict theological definitions for a ‘Missa Brevis’ as a type. In the Catholic liturgy, what is understood by this is the shortened version, forbidden for centuries, in the form of a text running parallel with singing, in an evangelical setting of the Ordinary usually restricted to the Kyrie and Gloria.

Significance: As a liturgically conceived composition, Strawinsky’s Mass is incomparable when compared to other music in that field. It leaves the principle behind according to which Masses were composed since the time of the Masses of Joseph’s Enlightenment. The text is seen exclusively as a theological expression, not as a tableau in itself. There is no more rudimentary example that survives in Strawinsky’s oeuvre of the text setting which was developing over the course of the 19th Century with ever more programmatically rich numbers of musical figures, which eventually resulted in the precursors for symphonic poems which were written under the pretence of church music using Mass texts, but in doing so showed themselves to be exclusively works of art, in order to distance itself at the same time from its functionality in the liturgy. His Mass is theology first and foremost, and then artwork. His criticism of the Masses of Mozart is to be understood liturgically and theologically, not artistically. On this respect, his contemporary composers only followed him with words not with works, so that his Mass remained one-of-a-kind in an entire century and unparalleled.

Situationsgeschichte: After its re-entry into the Orthodox Church, the Mass announced itself ergographically and with the benefit of hindsight, logically, in three steps. The first layer was the composition of the Pater Noster as the external sign of the renewal of the desire to pray as the dialogue between Man and God. The second layer was the composition of the Credo, with which he made clear his religious standpoint in the recognition of the Nicean and Constantinopolitan declaration of faith. With the setting of the Ave Maria at the end, Strawinsky accomplished the third level, which is the distancing from Protestantism which was never able to reconcile itself with the image-rich worship of Mary in Orthodox and Catholic Christianity. Through this, his standpoints were established. They all recur in the Mass. By setting them to Latin texts, orchestrating them with instruments that are forbidden in the Byzantine rite, and in 1949 also rewriting the separate pieces Pater Noster, Credo and Ave Maria with Latin texts, the religious home of his four liturgical pieces was certainly that of the Roman-Catholic Church, as, apart from the concert hall, they could not be performed with these characteristics in any other Christian church. That Strawinsky actually meant it to be so is shown by his disappointment when Ansermet premièred the Mass, of all pieces, where it did not really belong, namely in an opera house. This certainly did not improve his still crucial relationship to Ansermet at all and drove Strawinsky further into a self-imposed loneliness.

Versions: The piano reduction, conducting score and pocket score were published by Boosey & Hawkes in 1948. The publishing contract between Strawinsky and Boosey & Hawkes was signed on 19th April 1948. The original edition of the piano reduction, the contributory copy of which was entered into the British Library on 29th October 1948, contains on the inner title page a printing error that irritated Strawinsky. Instead of the correct ‘Double Wind Quintet’, the publishers had printed ‘Double Woodwind Quintet’. The incorrect text was pasted over in the original, whether in the form of a second edition or when the rest was shipped out cannot be established from the contents of the library. The London copy H.786.d.(2.) is an original copy with the incorrect printing. A pasted-over copy is in the Darmstadt Library of the International Institute of Music. In July 1951, the piano reduction was redesigned with an adjusted inner title page. There was also in the same year an American parallel printing with the same disc number, but a different design that still contained the misprint. In the subsequent new editions of the pocket score in April 1950 and in March 1953, the orders of the branches is changed. A further edition among others can be traced back to February 1966. The proposal made by Ralph Hawkes in 1947 to replace the wind orchestra with an organ part was evidently never realized.

Historical Recordings:24th and 25th April 1949 in the Town Hall in New York with the chorus of the Church of the Blessed Sacrament New York and a wind ensemble under the direction of Igor Strawinsky; 9th June 1960 in Hollywood with Annette Baker (Soprano) and Adrienne Albert (Alto), the Gregg Smith Singers and the Columbia Symphony Wwinds & Brass under the direction of Igor Strawinsky.

CD-Edition:XI-1/18–22 (Recording* 1960).

* In the CD edition, the two soloists are not named and the recording date is given as 5th June 1960.

Strawinsky’s copy from his estate is on the outer title nect to and below the piec title with >IStr< signed, but not dated and is riddled with notes concerning the performance practice. The copy contains corrections [Arabic numerals ® errata list: Kyrie 6 (only 1st correction Soprano); Gloria 2, 5, 6b; Credo 1; Sanctus 6]. >Double Woodwind Quintet< is pasted over by >Double Wind Quintet<.

* Classical editions from >J. S. BACH< to >WEBER< are listed including the titles of their works in three columns under the headline >classical WORKS<, under the headline >MODERNWORKS< the names of contemporary composers are listed without any titles in four columns from >BÉLABARTÓK< to >R. VAUGHANWILLIAMS<; Strawinsky not mentioned., The following places of printing are listed: London-New York-Los Angeles-Sidney-Toronto-Capetown-Paris.

** Classical editions from >J. S. BACH< to >WEBER< are listed including the titles of their works in four columns under the headline >classical WORKs<, Strawinsky not mentioned; under the headline >MODERNWORKS< the names of contemporary composers are listed without any titles in four columns from >BÉLABARTÓK< to >R. VAUGHANWILLIAMS<, Strawinsky not mentioned. The following places of printing are listed: London-New York-Los Angeles-Sydney-Toronto-Capetown-Paris.

* Classical editions from >J. S. BACH< to >WEBER< are listed including the titles of their works in four columns under the headline >classical WORKs<, Strawinsky not mentioned; under the headline >MODERNWORKS< the names of contemporary composers are listed without any titles in four columns from >BÉLABARTÓK< to >ARNOLDVANWYK<, Strawinsky not mentioned. The following places of printing are listed: London-New York-Los Angeles-Sydney-Toronto-Capetown-Buenos Aires-Paris.

** Classical editions from >J. S. BACH< to >WEBER< are listed including the titles of their works in four columns under the headline >classical editions<, under the headline >MODERNEDITIONS< the names of contemporary composers are listed without any titles in four columns from >BÉLABARTÓK< to >ARNOLDVANWYK<, amongst these >IGORSTRAWINSKY<. The order of the places of printing is London-New York-Toronto-Sydney-Capetown-Buenos Aires-Paris-Bonn.

** Classical editions from >J. S. BACH< to >WEBER< are listed including the titles of their works in four columns under the headline >classical editions<, under the headline >MODERNEDITIONS< the names of contemporary composers are listed without any titles in four columns from >Bela Bartok< to >Arnold van Wyk<, amongst these >IGORSTRAWINSKY<. The following places of printing are listed: London-New York-Toronto-Sydney-Capetown-Buenos Aires-Paris-Bonn.

** Classical editions from >J. S. BACH< to >WEBER< are listed including the titles of their works in four columns under the headline >classical editions<, under the headline >MODERNEDITIONS< the names of contemporary composers are listed without any titles in four columns from >BÉLABARTÓK< to >ARNOLDVANWYK<, amongst these >IGORSTRAWINSKY<. The order of the places of printing is London-Paris-Bonn-Capetown-Sydney-Toronto-Buenos Aires-New York.

***** Compositions are advertised without specification of places of printing° below [next to] from >BRITTEN, B,< to >YOUNG, P.<, amongst these >STRAVINSKY, I. [#] Canticum Sacrum / Mass / Requiem Canticles / A Sermon, a Narrative, and a Prayer / Symphony of Psalms / Threni< [° The names of the composers and work titles are separated by means of a vertical line continuing the length of the full page].

** Classical editions from >J. S. BACH< to >WEBER< are listed including the titles of their works in four columns under the headline >classical editions<, under the headline >MODERNEDITIONS< the names of contemporary composers are listed without any titles in four columns from >BÉLABARTÓK< to >ARNOLDVANWYK<, amongst these >IGORSTRAWINSKY<. The order of the places of printing is London-New York-Toronto-Sydney-Capetown-Buenos Aires-Paris-Bonn.

** Classical editions from >J. S. BACH< to >WEBER< are listed including the titles of their works in four columns under the headline >classical editions<, under the headline >MODERNEDITIONS< the names of contemporary composers are listed without any titles in four columns from >BÉLABARTÓK< to >ARNOLDVANWYK<, amongst these >IGORSTRAWINSKY<. The order of the places of printing is London-Paris-Bonn-Capetown-Sydney-Toronto-Buenos Aires-New York.